Статті в журналах: "360° VR"

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Arshad, Iqra, Paulo De Mello, Martin Ender, Jason D. McEwen, and Elisa R. Ferré. "Reducing Cybersickness in 360-Degree Virtual Reality." Multisensory Research 35, no. 2 (December 16, 2021): 203–19. http://dx.doi.org/10.1163/22134808-bja10066.

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Abstract Despite the technological advancements in Virtual Reality (VR), users are constantly combating feelings of nausea and disorientation, the so-called cybersickness. Cybersickness symptoms cause severe discomfort and hinder the immersive VR experience. Here we investigated cybersickness in 360-degree head-mounted display VR. In traditional 360-degree VR experiences, translational movement in the real world is not reflected in the virtual world, and therefore self-motion information is not corroborated by matching visual and vestibular cues, which may trigger symptoms of cybersickness. We evaluated whether a new Artificial Intelligence (AI) software designed to supplement the 360-degree VR experience with artificial six-degrees-of-freedom motion may reduce cybersickness. Explicit (simulator sickness questionnaire and Fast Motion Sickness (FMS) rating) and implicit (heart rate) measurements were used to evaluate cybersickness symptoms during and after 360-degree VR exposure. Simulator sickness scores showed a significant reduction in feelings of nausea during the AI-supplemented six-degrees-of-freedom motion VR compared to traditional 360-degree VR. However, six-degrees-of-freedom motion VR did not reduce oculomotor or disorientation measures of sickness. No changes were observed in FMS and heart rate measures. Improving the congruency between visual and vestibular cues in 360-degree VR, as provided by the AI-supplemented six-degrees-of-freedom motion system considered, is essential for a more engaging, immersive and safe VR experience, which is critical for educational, cultural and entertainment applications.

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Kreutzberg, Anette, and Emanuele Naboni. "360° VR for Qualifying Daylight Design." SHS Web of Conferences 64 (2019): 02015. http://dx.doi.org/10.1051/shsconf/20196402015.

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This paper describes the initial findings in an ongoing project aimed at bridging the gap between quantitative daylight simulations and visually perceived daylight quality, using 360° rendered panoramas and animations displayed in virtual reality. A daylight studio equipped with a simple façade pattern for a simultaneous Thermal Delight study was used as case study and test room. The test room was recorded with a 360° camera in sequential image series on days with different weather conditions. The resulting 360° VR time-lapse recordings were proposed for visual diurnal daylight analysis as supplement to thermal measurements used for calibrating and varying the façade pattern on site and in a corresponding thermal simulation model. A comparative experiment was set up to calibrate the perceived visual qualities and ambiance of daylight in 360° photographic panoramas viewed in VR, compared to the perceived visual qualities and ambiance of the real world site. Subjective visual evaluations of the virtual as well as the real space were recorded based on 15 people answering to a questionnaire. Results from the comparative experiment indicate a variety in perception of daylight quality and ambiance but a rather uniform perception of daylight brightness in 360° photographs that can be transferred to 360° rendered panoramas.

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Jung, Woonsub, Eunju Park, and Hankyu Lim. "Guide for 360 ˚ VR Video Production." IOSR Journal of Computer Engineering 19, no. 03 (May 2017): 126–32. http://dx.doi.org/10.9790/0661-190302126132.

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Siivola, Marjaana, Eero Tiainen, Eeva Ekholm, Teemu Leinonen, and Lauri Malmi. "Virtual Reality Childbirth Education With 360° Videos." Journal of Perinatal Education 32, no. 1 (January 1, 2023): 35–47. http://dx.doi.org/10.1891/jpe-2021-0021.

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During the pandemic in Finland, most childbirth education (CBE) programs were canceled or transferred online. We aimed to improve the situation by developing a virtual reality (VR) CBE. This article describes the process of developing a VR CBE pilot program and the results from the preliminary user test. To create the VR experience, we used 360° videos as the main content. The program is usable with VR headsets, a computer, tablet, and smartphone. When using the program with a VR headset, the users felt they were in the birthing room; they did not feel motion sickness, nor did they have usability challenges. The users preferred using the program on their own, studying independently with a tablet or mobile device.

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Liu, Yanwei, Jinxia Liu, Antonios Argyriou, Siwei Ma, Liming Wang, and Zhen Xu. "360-Degree VR Video Watermarking Based on Spherical Wavelet Transform." ACM Transactions on Multimedia Computing, Communications, and Applications 17, no. 1 (April 16, 2021): 1–23. http://dx.doi.org/10.1145/3425605.

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Similar to conventional video, the increasingly popular 360 virtual reality (VR) video requires copyright protection mechanisms. The classic approach for copyright protection is the introduction of a digital watermark into the video sequence. Due to the nature of spherical panorama, traditional watermarking schemes that are dedicated to planar media cannot work efficiently for 360 VR video. In this article, we propose a spherical wavelet watermarking scheme to accommodate 360 VR video. With our scheme, the watermark is first embedded into the spherical wavelet transform domain of the 360 VR video. The spherical geometry of the 360 VR video is used as the host space for the watermark so that the proposed watermarking scheme is compatible with the multiple projection formats of 360 VR video. Second, the just noticeable difference model, suitable for head-mounted displays (HMDs), is used to control the imperceptibility of the watermark on the viewport. Third, besides detecting the watermark from the spherical projection, the proposed watermarking scheme also supports detecting watermarks robustly from the viewport projection. The watermark in the spherical domain can protect not only the 360 VR video but also its corresponding viewports. The experimental results show that the embedded watermarks are reliably extracted both from the spherical and the viewport projections of the 360 VR video, and the robustness of the proposed scheme to various copyright attacks is significantly better than that of the competing planar-domain approaches when detecting the watermark from viewport projection.

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Kim, Hyeongjin, and Sunjin Yu. "Interactive Webtoon System Using VR 360 Cam and Face Detection." Journal of Computational and Theoretical Nanoscience 18, no. 6 (June 1, 2021): 1737–43. http://dx.doi.org/10.1166/jctn.2021.9608.

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VR 360 Cam is an emerging device. By combining this with the rising webtoon industry, we want to show people an immersive webtoon. Based on the python language, face detection was performed from images received in real time from VR 360 Cam through dlib, a machine learning library that supports python. The VR 360 Cam performs trekking on the detected face to receive each detected position value, and is converted into a natural face through rectification to be shown to the audience. The exhibition, which performed face detection from the VR 360 Cam, and showed the image of the person’s face mapped to the audience, drew meaningful results. Unlike cameras such as webcams, VR 360 Cam has a wider viewing angle, allowing more people to interact. Existing webcams can only interact with one person at a time because it is impossible to interact with more people due to a narrow angle when one person enters. On the other hand, interaction with multiple people is possible through VR 360 Cam. Various exhibitions were possible.

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Guo, Chengjun, Ying Cui, and Zhi Liu. "Optimal Multicast of Tiled 360 VR Video." IEEE Wireless Communications Letters 8, no. 1 (February 2019): 145–48. http://dx.doi.org/10.1109/lwc.2018.2864151.

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V Alamäki, Ari, Amir Dirin, Jyrki Suomala, and Cheul Rhee. "Students’ Experiences of 2D and 360° Videos With or Without a Low-Cost VR Headset: An Experimental Study in Higher Education." Journal of Information Technology Education: Research 20 (2021): 309–29. http://dx.doi.org/10.28945/4816.

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Aim/Purpose: This case study examines students’ affective responses to and relationships with two-dimensional (2D) and 360° videos that were experienced with or without low-cost virtual reality (VR) headsets. Background: The prior research on low-cost VR technology is scant. Schools and universities are not financially able to purchase tens or hundreds of expensive inbuilt VR headsets. Therefore, we recommend an alternative, low-cost solution. Methodology: We conducted the experiment with students’ (N=100) responses to videos and VR technologies used in a higher education setting. We also applied a quantitative research approach examined in light of media richness and affective experience theories. Contribution: This study provides evidence of the integral role that VR technologies and 360° video content play, because using low-cost VR headsets potentially decreases the initial affective experiences of 360° videos among students. Although VR headsets improve media richness, they might simultaneously weaken students’ overall affective experiences if they experience usability challenges. Findings: The results showed that using low-cost VR headsets decreased positive user experiences when they were watching 360° videos. The 360° video experience was noted to be better without low-cost VR headsets. Low-cost VR headsets with a smartphone and 360° videos were found to be complicated to set up and use among first-time users. However, 360° videos created a more positive affect than did 2D videos. We also found that the positive affect of videos enhanced the social sharing intention. Recommendations for Practitioners: Educational institutes and teachers with limited financial budgets need to plan and manage courses that increases their need to adopt low-cost VR headsets. However, a poor initial user experience of low-cost VR technology usability might create negative student attitudes, which might hinder VR’s adoption rate in higher education. Recommendation for Researchers: This study provides a new understanding about students’ affective experiences of 2D videos and 360° videos with and without low-cost VR headsets. The results show that positive user experiences of 2D and 360° videos enhance students’ interest in sharing and collaboration in digital learning environments. Impact on Society: The results help educators to predict possible usability challenges in selecting the proper rich media for different learning situations. Additionally, the results assist educators to design VR assisted courses that motivate students. Future Research: The experimental comparison of different VR solutions and traditional learning technologies merits further examination. Additionally, more research is needed to determine the relationship of VR technologies, video content and learning methods, because technological features and content are tightly integrated in VR.

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Kim, Hak Gu, Heoun-Taek Lim, Sangmin Lee, and Yong Man Ro. "VRSA Net: VR Sickness Assessment Considering Exceptional Motion for 360° VR Video." IEEE Transactions on Image Processing 28, no. 4 (April 2019): 1646–60. http://dx.doi.org/10.1109/tip.2018.2880509.

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Davis, Deborah Pang, and Barbara Millet. "Designing 360 Video for Immersive Journalism." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 64, no. 1 (December 2020): 1059–63. http://dx.doi.org/10.1177/1071181320641254.

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Journalism has seen tremendous change and 360-degree video, a form of virtual reality (VR), continues to present new ways for audiences to experience and engage with stories. Many journalists see 360° video as the future of storytelling. This literature review was conducted to guide UX practitioners and journalism professionals to practical information in an effort to understand the design challenges of VR and 360° video in journalism and identify opportunities to improve the user experience.

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Kim, Jin-kon. "A Study on Exploratory 360 Degree VR Contents." Journal of Communication Design 63 (April 30, 2018): 101–12. http://dx.doi.org/10.25111/jcd.2018.63.08.

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Choi, Kanghyun, Yeo-Jin Yoon, Oh-Young Song, and Soo-Mi Choi. "Interactive and Immersive Learning Using 360° Virtual Reality Contents on Mobile Platforms." Mobile Information Systems 2018 (October 11, 2018): 1–12. http://dx.doi.org/10.1155/2018/2306031.

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Recent advances in mobile virtual reality (VR) devices have paved the way for various VR applications in education. This paper presents a novel authoring framework for mobile VR contents and a play-based learning model for marine biology education. For interactive and immersive mobile VR contents, we develop a multilayer 360° VR representation with image-based interactions such as mesh deformation and water simulation, which enable users to realistically interact with 360° panoramic contents without consuming excessive computational resources. On the basis of this representation, we design and implement play-based learning scenarios to increase the interactivity and immersion of users. Then, we verify the effectiveness of our educational scenarios using a user study in terms of user-created VR contents, interactivity, and immersion. The results show that more experienced elements in VR contents improve the immersion of users and make them more actively involved.

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Guo, J., Q. K. Pei, G. L. Ma, L. Liu, and X. Y. Zhang. "A New Uniform Format for 360 VR Videos." Computer Graphics Forum 37, no. 7 (October 2018): 245–53. http://dx.doi.org/10.1111/cgf.13564.

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Mansor, Evi Indriasari. "Exploring the Acceptance of 360 Videos in Virtual Reality Settings for Teaching and Learning." Asia-Pacific Journal of Information Technology and Multimedia 11, no. 01 (June 1, 2022): 78–89. http://dx.doi.org/10.17576/apjitm-2022-1101-07.

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Virtual Reality (VR) is a technology that has been widely adopted in supporting learning and educational purposes over recent years. It has shown enormous potential to pioneer education in the future, mainly through its immersive learning environments provided in 360° settings. We explore the possibility of using VR technology in supporting teaching and learning experience in class. This paper reports the perception of trainee teachers towards the acceptance of the use of 360° videos in VR settings for teaching and learning. Forty trainee teachers were grouped to create learning content using available 360° videos and rendering and processing them into a VR format. They viewed and experienced the content they developed using the ClassVR headset. The findings showed positive feedback on the use of 360° videos in facilitating immersive learning experiences.

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Tabbaa, Luma, Ryan Searle, Saber Mirzaee Bafti, Md Moinul Hossain, Jittrapol Intarasisrisawat, Maxine Glancy, and Chee Siang Ang. "VREED." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 5, no. 4 (December 27, 2021): 1–20. http://dx.doi.org/10.1145/3495002.

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The paper introduces a multimodal affective dataset named VREED (VR Eyes: Emotions Dataset) in which emotions were triggered using immersive 360° Video-Based Virtual Environments (360-VEs) delivered via Virtual Reality (VR) headset. Behavioural (eye tracking) and physiological signals (Electrocardiogram (ECG) and Galvanic Skin Response (GSR)) were captured, together with self-reported responses, from healthy participants (n=34) experiencing 360-VEs (n=12, 1--3 min each) selected through focus groups and a pilot trial. Statistical analysis confirmed the validity of the selected 360-VEs in eliciting the desired emotions. Preliminary machine learning analysis was carried out, demonstrating state-of-the-art performance reported in affective computing literature using non-immersive modalities. VREED is among the first multimodal VR datasets in emotion recognition using behavioural and physiological signals. VREED is made publicly available on Kaggle1. We hope that this contribution encourages other researchers to utilise VREED further to understand emotional responses in VR and ultimately enhance VR experiences design in applications where emotional elicitation plays a key role, i.e. healthcare, gaming, education, etc.

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Bruening, Daniel M., Peter Truckenmueller, Christian Stein, Josch Fuellhase, Peter Vajkoczy, Thomas Picht, and Gueliz Acker. "360° 3D virtual reality operative video for the training of residents in neurosurgery." Neurosurgical Focus 53, no. 2 (August 2022): E4. http://dx.doi.org/10.3171/2022.5.focus2261.

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OBJECTIVE Training of residents is an essential but time-consuming and costly task in the surgical disciplines. During the coronavirus disease 2019 pandemic, surgical education became even more challenging because of the reduced caseload due to the increased shift to corona care. In this context, augmented 360° 3D virtual reality (VR) videos of surgical procedures enable effective off-site training through virtual participation in the surgery. The goal of this study was to establish and evaluate 360° 3D VR operative videos for neurosurgical training. METHODS Using a 360° camera, the authors recorded three standard neurosurgical procedures: a lumbar discectomy, brain metastasis resection, and clipping of an aneurysm. Combined with the stereoscopic view of the surgical microscope, 7- to 10-minute 360° 3D VR videos augmented with annotations, overlays, and commentary were created. These videos were then presented to the neurosurgical residents at the authors’ institution using a head-mounted display. Before viewing the videos, the residents were asked to fill out a questionnaire indicating their VR experience and self-assessment of surgical skills regarding the specific procedure. After watching the videos, the residents completed another questionnaire to evaluate their quality and usefulness. The parameters were scaled with a 5-point Likert scale. RESULTS Twenty-two residents participated in this study. The mean years of experience of the participants in neurosurgery was 3.2 years, ranging from the 1st through the 7th year of training. Most participants (86.4%) had no or less than 15 minutes of VR experience. The overall quality of the videos was rated good to very good. Immersion, the feeling of being in the operating room, was high, and almost all participants (91%) stated that 360° VR videos provide a useful addition to the neurosurgical training. VR sickness was negligible in the cohort. CONCLUSIONS In this study, the authors demonstrated the feasibility and high acceptance of augmented 360° 3D VR videos in neurosurgical training. Augmentation of 360° videos with complementary and interactive content has the potential to effectively support trainees in acquiring conceptual knowledge. Further studies are necessary to investigate the effectiveness of their use in improving surgical skills.

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Plötner, Kathleen, and Florian Nowotny. "Fremdsprachendidaktik meets 360° & Virtual Reality." MedienPädagogik: Zeitschrift für Theorie und Praxis der Medienbildung 51 (January 15, 2023): 131–50. http://dx.doi.org/10.21240/mpaed/51/2023.01.15.x.

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In den Wintersemestern 2020/21 und 2021/22 wurde am Lehrstuhl für Fachdidaktik der romanischen Sprachen, Literaturen und Kulturen der Universität Potsdam in Kooperation mit dem BMBF-geförderten Projekt «Forschen/Lernen Digital (FoLD)» je ein Projektseminar im Master Lehramt Französisch/Spanisch durchgeführt, in dem die teilnehmenden Studierenden sich mit ausgewählten 360°- und Virtual-Reality-Anwendungen aus fremdsprachendidaktischer Perspektive auseinandersetzten. Das Seminar wurde wissenschaftlich mithilfe eines teilstandardisierten Fragebogens (Pre- und Postdesign) begleitet, der u. a. einen 360°- und VR-spezifischen Abschnitt beinhaltete. Der Beitrag legt den Fokus auf Einschätzungen der zukünftigen Fremdsprachenlehrpersonen zu vier im Seminar behandelten Anwendungen (Panolingo, MondlyVR, AltspaceVR und Lapentor) hinsichtlich ihres möglichen Einsatzes im Fremdsprachenunterricht und arbeitet die verwendeten Argumentationen und Bewertungskriterien der Postbefragung inhaltsanalytisch heraus. Er versteht sich als Teil einer Vorstudie eines grösser angelegten Forschungsprojekts zu fremdsprachlichen Lehrlernprozessen in und durch VR.

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T. T. Tran, Huyen, Nam P. Ngoc, Cuong T. Pham, Yong Ju Jung, and Truong Cong Thang. "A Subjective Study on User Perception Aspects in Virtual Reality." Applied Sciences 9, no. 16 (August 16, 2019): 3384. http://dx.doi.org/10.3390/app9163384.

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Three hundred and sixty degree video is becoming more and more popular on the Internet. By using a Head-Mounted Display, 360-degree video can render a Virtual Reality (VR) environment. However, it is still a big challenge to understand Quality of Experience (QoE) of 360-degree video since user experience during watching 360-degree video is a very complex phenomenon. In this paper, we aim to investigate four QoE aspects of 360-degree video, namely, perceptual quality, presence, cybersickness, and acceptability. In addition, four key QoE-affecting factors of encoding parameters, content motion, rendering device, and rendering mode are considered in our study. To the best of our knowledge, this is the first work that covers a large number of factors and QoE aspects of 360-degree video. In this study, a subjective experiment is conducted using 60 video versions generated from three original 360-degree videos. Based on statistical analysis of the obtained results, various findings on the impacts of the factors on the QoE aspects are provided. In particular, regarding the impacts of encoding parameters, it is found that the difference of QoE is negligible between video versions encoded at 4 K and 2.5 K resolutions. Also, it is suggested that 360-degree video should not be encoded at HD resolution or lower when watching in VR mode using Head Mounted Display. In addition, the bitrate for good QoE varies widely across different video contents. With respect to the content motion factor, its impact is statistically significant on the perceptual quality, presence, and cybersickness. In a comparison of two rendering device sets used in this study, there is no statistically significant difference found for the acceptability and cybersickness. However, the differences of the perceptual quality and presence are indicated to be statistically significant. Regarding the rendering mode, a comparison between VR and non-VR modes is also conducted. Although the non-VR mode always achieves higher perceptual quality scores and higher acceptability rates, more than a half of the viewers prefer the VR mode to the non-VR mode when watching versions encoded at the resolutions of fHD or higher. By contrast, the non-VR mode is preferred at the HD resolution.

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Abraham, Nicola. "Wonder VR: Interactive Storytelling through VR 360 Video with NHS Patients Living with Dementia." Contemporary Theatre Review 30, no. 4 (October 1, 2020): 474–89. http://dx.doi.org/10.1080/10486801.2020.1812591.

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Allman, Sarah A., Joanna Cordy, James P. Hall, Victoria Kleanthous, and Elizabeth R. Lander. "Exploring the Perception of Additional Information Content in 360° 3D VR Video for Teaching and Learning." Virtual Worlds 1, no. 1 (May 13, 2022): 1–17. http://dx.doi.org/10.3390/virtualworlds1010001.

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360° 3D virtual reality (VR) video is used in education to bring immersive environments into a teaching space for learners to experience in a safe and controlled way. Within 360° 3D VR video, informational elements such as additional text, labelling and directions can be easily incorporated to augment such content. Despite this, the usefulness of this information for learners has not yet been determined. This article presents a study which aims to explore the usefulness of labelling and text within 360° stereoscopic 3D VR video content and how this contributes to the user experience. Postgraduate students from a university in the UK (n = 30) were invited to take part in the study to evaluate VR video content augmented with labels and summary text or neither of these elements. Interconnected themes associated with the user experience were identified from semi-structured interviews. From this, it was established that the incorporation of informational elements resulted in the expansion of the field of view experienced by participants. This “augmented signposting” may facilitate a greater spatial awareness of the virtual environment. Four recommendations for educators developing 360° stereoscopic 3D VR video content are presented.

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Vaquero-Blasco, Miguel A., Eduardo Perez-Valero, Christian Morillas, and Miguel A. Lopez-Gordo. "Virtual Reality Customized 360-Degree Experiences for Stress Relief." Sensors 21, no. 6 (March 22, 2021): 2219. http://dx.doi.org/10.3390/s21062219.

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The latest studies in virtual reality (VR) have evidenced the potential of this technology to reproduce environments from multiple domains in an immersive way. For instance, in stress relief research, VR has been presented as a portable and inexpensive alternative to chromotherapy rooms, which require an adapted space and are expensive. In this work, we propose a portable and versatile alternative to the traditional chromotherapy color-loop treatment through four different 360-degree virtual experiences. A group of 23 healthy participants (mean age 22.65 ± 5.48) were conducted through a single-session experience divided into four phases while their electroencephalography (EEG) was recorded. First, they were stressed via the Montreal imaging stress task (MIST), and then relaxed using our VR proposal. We applied the Wilcoxon test to evaluate the relaxation effect in terms of the EEG relative gamma and self-perceived stress surveys. The results that we obtained validate the effectiveness of our 360-degree proposal to significantly reduce stress (p-value = 0.0001). Furthermore, the participants deemed our proposal comfortable and immersive (score above 3.5 out of 5). These results suggest that 360-degree VR experiences can mitigate stress, reduce costs, and bring stress relief assistance closer to the general public, like in workplaces or homes.

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MOLO, Ümmühan. "360 Derece VR (Virtual Reality) Teknolojisi ve Selyatağı Filmi." Yedi, no. 26 (July 31, 2021): 1. http://dx.doi.org/10.17484/yedi.910698.

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Kobayashi, Fumiaki. "7. Implementation for 360 Video VR Application with HTML5." Journal of The Institute of Image Information and Television Engineers 70, no. 3 (2016): 236–39. http://dx.doi.org/10.3169/itej.70.236.

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Fei, Zesong, Fei Wang, Jing Wang, and Xiang Xie. "QoE Evaluation Methods for 360-Degree VR Video Transmission." IEEE Journal of Selected Topics in Signal Processing 14, no. 1 (January 2020): 78–88. http://dx.doi.org/10.1109/jstsp.2019.2956631.

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김영철. "The Pending Issues and Takes Regarding 360 VR Education of the Image Education Institutions Including the Related Universities －Focusing on 360 VR－." journal of the moving image technology associon of korea 1, no. 26 (June 2017): 5–27. http://dx.doi.org/10.34269/mitak.2017.1.26.001.

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Olbrecht, Vanessa A., Sara E. Williams, Keith T. O’Conor, Chloe O. Boehmer, Gilbert W. Marchant, Susan M. Glynn, Kristie J. Geisler, Lili Ding, Gang Yang, and Christopher D. King. "Guided relaxation-based virtual reality versus distraction-based virtual reality or passive control for postoperative pain management in children and adolescents undergoing Nuss repair of pectus excavatum: protocol for a prospective, randomised, controlled trial (FOREVR Peds trial)." BMJ Open 10, no. 12 (December 2020): e040295. http://dx.doi.org/10.1136/bmjopen-2020-040295.

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IntroductionVirtual reality (VR) offers an innovative method to deliver non-pharmacological pain management. Distraction-based VR (VR-D) using immersive games to redirect attention has shown short-term pain reductions in various settings. To create lasting pain reduction, VR-based strategies must go beyond distraction. Guided relaxation-based VR (VR-GR) integrates pain-relieving mind–body based guided relaxation with VR, a novel therapy delivery mechanism. The primary aim of this study is to assess the impact of daily VR-GR, VR-D and 360 video (passive control) on pain intensity. We will also assess the impact of these interventions on pain unpleasantness, anxiety and opioid and benzodiazepine consumption. The secondary aim of this study will assess the impact of psychological factors (anxiety sensitivity and pain catastrophising) on pain following VR.Methods and analysisThis is a single centre, prospective, randomised, clinical trial. Ninety children/adolescents, aged 8–18 years, presenting for Nuss repair of pectus excavatum will be randomised to 1 of 3 study arms (VR-GR, VR-D and 360 video). Patients will use the Starlight Xperience (Google Daydream) VR suite for 10 min. Patients randomised to VR-GR (n=30) will engage in guided relaxation/mindfulness with the Aurora application. Patients randomised to VR-D (n=30) will play 1 of 3 distraction-based games, and those randomised to the 360 video (n=30) will watch the Aurora application without audio instructions or sound. Primary outcome is pain intensity. Secondary outcomes include pain unpleasantness, anxiety and opioid and benzodiazepine consumption.Ethics and disseminationThis study follows Standard Protocol Items: Recommendations for Interventional Trials guidelines. The protocol was approved by the Cincinnati Children’s Hospital Medical Center’s institutional review board. Patient recruitment began in July 2020. Written informed consent will be obtained for all participants. All information acquired will be disseminated via scientific meetings and published in peer-reviewed journals.Trial registration numberNCT04351776.

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Soyluçiçek, Seza. "Looking through the sphere; Illustration in virtual reality." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 53–59. http://dx.doi.org/10.18844/prosoc.v5i6.3695.

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Illustration field has developed different visual communication ways and reached a broad usage area. Instead of consisting of just book limning, with various techniques, methods and technological opportunities, it continues to take place in other places. Especially the usage area of two–three-dimensional illustrations on digital media enlarged, led to different production processes and designers found new display possibilities and design processes. One of the examples about this situation is 360-degree illustrations that can be designed and displayed on virtual reality (VR) media. VR is an interactional virtual media that can detect the location and movements of users, appeal to one or more artificial senses and give the feeling of being inside the simulation. 360-degree display and production on this media takes not only VR glasses but also web portals and some developer programs. In this study, illustration in VR and 360-degree panoramic illustration of display and development systems and production processes are examined.Keywords: Illustration, virtual reality, panoramic illustration, graphic design, art education.

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Kim, Chul-Hyun. "VR 360 HDR master production workflow based on HEVC REC.2020." Journal of Digital Contents Society 21, no. 1 (January 31, 2020): 89–97. http://dx.doi.org/10.9728/dcs.2020.21.1.89.

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Jeong, JongBeom, Dongmin Jang, Jangwoo Son, and Eun-Seok Ryu. "3DoF+ 360 Video Location-Based Asymmetric Down-Sampling for View Synthesis to Immersive VR Video Streaming." Sensors 18, no. 9 (September 18, 2018): 3148. http://dx.doi.org/10.3390/s18093148.

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Recently, with the increasing demand for virtual reality (VR), experiencing immersive contents with VR has become easier. However, a tremendous amount of calculation and bandwidth is required when processing 360 videos. Moreover, additional information such as the depth of the video is required to enjoy stereoscopic 360 contents. Therefore, this paper proposes an efficient method of streaming high-quality 360 videos. To reduce the bandwidth when streaming and synthesizing the 3DoF+ 360 videos, which supports limited movements of the user, a proper down-sampling ratio and quantization parameter are offered from the analysis of the graph between bitrate and peak signal-to-noise ratio. High-efficiency video coding (HEVC) is used to encode and decode the 360 videos, and the view synthesizer produces the video of intermediate view, providing the user with an immersive experience.

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Škola, Filip, Selma Rizvić, Marco Cozza, Loris Barbieri, Fabio Bruno, Dimitrios Skarlatos, and Fotis Liarokapis. "Virtual Reality with 360-Video Storytelling in Cultural Heritage: Study of Presence, Engagement, and Immersion." Sensors 20, no. 20 (October 16, 2020): 5851. http://dx.doi.org/10.3390/s20205851.

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This paper presents a combined subjective and objective evaluation of an application mixing interactive virtual reality (VR) experience with 360° storytelling. The hypothesis that the modern immersive archaeological VR application presenting cultural heritage from a submerged site would sustain high levels of presence, immersion, and general engagement was leveraged in the investigation of the user experience with both the subjective (questionnaires) and the objective (neurophysiological recording of the brain signals using electroencephalography (EEG)) evaluation methods. Participants rated the VR experience positively in the questionnaire scales for presence, immersion, and subjective judgement. High positive rating concerned also the psychological states linked to the experience (engagement, emotions, and the state of flow), and the experience was mostly free from difficulties linked to the accustomization to the VR technology (technology adoption to the head-mounted display and controllers, VR sickness). EEG results are in line with past studies examining brain responses to virtual experiences, while new results in the beta band suggest that EEG is a viable tool for future studies of presence and immersion in VR.

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Banchi, Yoshihiro, Keisuke Yoshikawa, and Takashi Kawai. "Evaluating user experience of 180 and 360 degree images." Electronic Imaging 2020, no. 2 (January 26, 2020): 244–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.2.sda-244.

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This paper describes a comparison of user experience of virtual reality (VR) image format. The authors prepared the following four conditions and evaluated the user experience during viewing VR images with a headset by measuring subjective and objective indices; Condition 1: monoscopic 180-degree image, Condition 2: stereoscopic 180-degree image, Condition 3: monoscopic 360-degree image, Condition 4: stereoscopic 360-degree image. From the results of the subjective indices (reality, presence, and depth sensation), condition 4 was evaluated highest, and conditions 2 and 3 were evaluated to the same extent. In addition, from the results of the objective indices (eye and head tracking), a tendency to suppress head movement was found in 180-degree images.

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Chrissandy, Ruby. "TANGGAPAN PENONTON WISATA VIRTUAL VIDEO 360 DERAJAT DENGAN KOMPUTER DAN VR BOX." Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 6, no. 1 (April 28, 2022): 34. http://dx.doi.org/10.24912/jmishumsen.v6i1.13384.2022.

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Orang yang bekerja atau belajar secara daring di rumah karena pembatasan aktivitas akibat pademi COVID-19 membutuhkan liburan untuk mengusir rasa bosan. Wisata virtual dapat menggantikan aktivitas liburan. Teknologi video 360 digunakan untuk kegiatan pelestarian situs warisan budaya dan wisata virtual. Teknologi video 360 dapat ditonton dengan Head Mounted Display (HMD), VR Box dan komputer. Beberapa penelitian mengungkap efek motion sickness saat menonton video 360 dengan HMDs. Bagaimana respon penonton terhadap materi video 360? Tujuan penelitian adalah untuk mendapatkan respon penonton terhadap teknis videonya, kelebihan dan kekurangan media penyaji dan ketertarikan penonton untuk berwisata lewat video 360. Metode penelitian yang digunakan adalah kualitatif dengan riset empiris. Pengambilan data lewat focus discussion grup (FGD). Peserta FGD yaitu peminat teknologi video. Tujuan penggunaan metodologi pengamatan empiris untuk mendapatkan informasi yang mendalam terhadap respon penonton video tersebut. Pada riset ini pengetahuan atau wawasan yang ingin didapatkan adalah respon penonton video 360 wisata virtual. Hasilnya respon penonton terhadap alat untuk menonton video 360 memiliki kelebihan dan kekurangan dari segi penggunaan. Media video statis membuat bosan penonton dapat diperbaiki dengan meningkatkan kualitas gambar memerlukan resolusi video yang tinggi dan tingkat brightness, contrast, saturasi yang baik agar penonton merasa nyaman. Pengambilan gambar dari perspektif orang pertama, agar penonton merasakan suasana jalan-jalan di dalam museum.

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Hwang, Angel Hsing-Chi, Jaryung Kim, Shane Neil Lobo, Yingyi Shu, and Andrea Stevenson Won. "Being there to Learn: Narrative Style and Cross-platform Comparison for 360-degree Educational Videos." Proceedings of the ACM on Human-Computer Interaction 6, CSCW2 (November 7, 2022): 1–28. http://dx.doi.org/10.1145/3555169.

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360-degree videos hold great potential as learning tools that can provide a sense of presence with instructors. However, much remains to be explored about how these videos should be designed. Across three within-subjects studies, we compared the effects of two different narrative styles, monologue and dialogue, on learning experiences in 360-degree videos filmed in an apple orchard. Study 1 presented the 360-degree videos using virtual reality (VR) with head-mounted displays. Study 2 presented the same content in web-based VR using computer screens. Replicating Study 2, Study 3 further examined users' interaction with the video content using on-screen mouse tracking. Across all three studies, participants preferred a monologue format, and also reported higher physical and social presence in this format. Furthermore, greater physical presence correlated with improved recall of informative content. This suggests that many of the benefits of 360-degree videos can be enjoyed even by students and teachers without access to VR headsets, providing more inclusive and accessible learning opportunities.

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Aoki, Shuichi. "5. Current Status of Standardization Activities on VR/360° Services." Journal of The Institute of Image Information and Television Engineers 73, no. 1 (2019): 29–33. http://dx.doi.org/10.3169/itej.73.29.

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Guo, Chengjun, Ying Cui, and Zhi Liu. "Optimal Multicast of Tiled 360 VR Video in OFDMA Systems." IEEE Communications Letters 22, no. 12 (December 2018): 2563–66. http://dx.doi.org/10.1109/lcomm.2018.2873005.

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Lee, Wei-Tse, Hsin-I. Chen, Ming-Shiuan Chen, I.-Chao Shen, and Bing-Yu Chen. "High-resolution 360 Video Foveated Stitching for Real-time VR." Computer Graphics Forum 36, no. 7 (October 2017): 115–23. http://dx.doi.org/10.1111/cgf.13277.

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37

Sutrisno, Arif. "STUDI PERBANDINGAN ANIMASI 360 DERAJAT BERTEMA SEJARAH." JADECS (Jurnal of Art, Design, Art Education & Cultural Studies) 6, no. 1 (April 16, 2021): 22. http://dx.doi.org/10.17977/um037v6i12021p22-34.

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To identify general characteristics of historical-themed 360o animation, visual characteristics, and ways of delivering material in historical learning media, this study attempts to compare three historical-themed 360o animations, namely the game trailler Assassin's Creed Syndicate Jack the Ripper, Dinosaurs World 360 VR, and Dunkirk 'Save Every Breath'. This research method is by determine the benchmark focus, planning and research, data collection, implementation, recommendations, and analysis. In general, historical 360o animation uses 3D animation techniques. The flow used tends to be linear with narrative storytelling. The point of view used is first person. The camera movement used is a follow subject. Key Words: Animation 360 Degree, Learning Media, History

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38

Ortet, Cláudia Pedro, Ana Isabel Veloso, and Liliana Vale Costa. "Cycling through 360° Virtual Reality Tourism for Senior Citizens: Empirical Analysis of an Assistive Technology." Sensors 22, no. 16 (August 17, 2022): 6169. http://dx.doi.org/10.3390/s22166169.

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In recent years, there has been a renewed interest in using virtual reality (VR) to (re)create different scenarios and environments with interactive and immersive experiences. Although VR has been popular in the tourism sector to reconfigure tourists’ relationships with places and overcome mobility restrictions, its usage in senior cyclotourism has been understudied. VR is suggested to positively impact tourism promotion, cycling simulation, and active and healthy ageing due to physical and mental rehabilitation. The purpose of this study is to assess the senior citizens’ perceived experience and attitudes toward a designed 360° VR cyclotouristic experiment, using a head-mounted display (HMD) setting within a laboratory context. A total of 76 participants aged between 50 and 97 years old were involved in convergent parallel mixed-method research, and data were collected using a questionnaire based on the technology acceptance model, as well as the researchers’ field notes. Findings suggest that 360° VR with HMD can be an effective assistive technology to foster senior cyclotourism by promoting tourism sites, simulating the cycling pedaling effect, and improving senior citizens’ general wellbeing and independence with physical and mental rehabilitation.

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39

Engberg, Maria, and Jay David Bolter. "The aesthetics of reality media." Journal of Visual Culture 19, no. 1 (April 2020): 81–95. http://dx.doi.org/10.1177/1470412920906264.

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In this article, the authors examine the aesthetics of immersion in two emerging media forms: 360° video and 3D VR. Their goal is to move beyond addressing technical affordances, to consider the techniques and choices that producers of 360° video and 3D VR are making to exploit these affordances, and what resulting effects those viewing experiences have. They discuss the tension between transparency and reflectivity in two contrasting examples, in particular: the Danish company Makropol’s Anthropia (2017) and Arora and Unseld’s The Day the World Changed (2018). The authors argue that technical affordances are part of a complex process of mediation that includes both experimentation with the technology at hand and a reliance on earlier media forms. It is critical, they argue, to understand the creative tension between established forms and new ones that underscore new aesthetic and narrative experiences in VR and 360° formats.

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Lee, You-Na, and Jin-Wan Park. "Arrangement of narrative events and background in the contents of VR 360 video." Journal of Digital Contents Society 19, no. 9 (September 30, 2018): 1631–39. http://dx.doi.org/10.9728/dcs.2018.19.9.1631.

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Banchi, Yoshihiro, and Takashi Kawai. "Evaluating user experience of different angle VR images." Electronic Imaging 2021, no. 2 (January 18, 2021): 98–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.2.sda-098.

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This paper describes a comparison of user experience of virtual reality (VR) image angles. 7 angles conditions are prepared and evaluated the user experience during viewing VR images with a headset by measuring subjective and objective indexes. Angle conditions were every 30 degrees from 180 to 360 degrees. From the results of the subjective indexes (reality, presence, and depth sensation), a 360-degree image was evaluated highest, and different evaluations were made between 240 and 270 degrees.In addition, from the results of the objective indexes (eye and head tracking), a tendency to spread the eye and head movement was found as the image angle increases.

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42

Hamus-Vallée, Réjane. "Le documentaire en 360°, un point de vue impossible ? Étude de NYT VR et Arte 360." Studies in French Cinema 18, no. 3 (February 9, 2018): 223–38. http://dx.doi.org/10.1080/14715880.2017.1324097.

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Moody, Paul. "An ‘Amuse-Bouche at Best'." International Journal of E-Politics 8, no. 3 (July 2017): 42–50. http://dx.doi.org/10.4018/ijep.2017070104.

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Much has been written about the function of narrative in virtual reality (VR) productions (Aylett & Louchart, 2003; Aylett et al, 2005; Ryan, 2001; 2005; 2008; 2009), but the role of the audience, and the relative degree of control that they have over the content, has led some scholars to believe that there is an ontological problem with describing VR in narrative terms. This article investigates some of these assumptions, via an analysis of an undertheorised aspect of VR that has emerged in recent years – the 360° film. It argues that 360° film represents a much more important aspect of VR than has been previously recognised. In so doing, the article establishes this medium as an important field of study, and argues that ultimately, it will be the commercial infrastructure for this content which will define the parameters of immersive storytelling.

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Shahid Anwar, Muhammad, Jing Wang, Sadique Ahmad, Asad Ullah, Wahab Khan, and Zesong Fei. "Evaluating the Factors Affecting QoE of 360-Degree Videos and Cybersickness Levels Predictions in Virtual Reality." Electronics 9, no. 9 (September 18, 2020): 1530. http://dx.doi.org/10.3390/electronics9091530.

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360-degree Virtual Reality (VR) videos have already taken up viewers’ attention by storm. Despite the immense attractiveness and hype, VR conveys a loathsome side effect called “cybersickness” that often creates significant discomfort to the viewers. It is of great importance to evaluate the factors that induce cybersickness symptoms and its deterioration on the end user’s Quality-of-Experience (QoE) when visualizing 360-degree videos in VR. This manuscript’s intent is to subjectively investigate factors of high priority that affect a user’s QoE in terms of perceptual quality, presence, and cybersickness. The content type (fast, medium, and slow), the effect of camera motion (fixed, horizontal, and vertical), and the number of moving targets (none, single, and multiple) in a video can be the factors that may affect the QoE. The significant effect of such factors on end-user QoE under various stalling events (none, single, and multiple) is evaluated in a subjective experiment. The results from subjective experiments show a notable impact of these factors on end-user QoE. Finally, to label the viewing safety concern in VR, we propose a neural network-based QoE prediction method that can predict the degree of cybersickness influenced by 360-degree videos under various stalling events in VR. The performance accuracy of the proposed method is then compared against well-known Machine Learning (ML) algorithms and existing QoE prediction models. The proposed method achieved a 90% prediction accuracy rate and performed well against existing models and other ML methods.

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Ibourk, El Mehdi, and Amer Al-Adwan. "Subtitling Virtual Reality into Arabic: Eye Tracking 360-Degree Video for Exploring Viewing Experience." Lebende Sprachen 64, no. 2 (November 5, 2019): 286–308. http://dx.doi.org/10.1515/les-2019-0016.

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Abstract The recent years have witnessed the emergence of new approaches in filmmaking including virtual reality (VR), which is meant to achieve an immersive viewing experience through advanced electronic devices, such as VR headsets. The VR industry is oriented toward developing content mainly in English and Japanese, leaving vast audiences unable to understand the original content or even enjoy this novel technology due to language barriers. This paper examines the impact of the subtitles on the viewing experience and behaviour of eight Arab participants in understanding the content in Arabic through eye tracking technology. It also provides an insight on the mechanism of watching a VR 360-degree documentary and the factors that lead viewers to favour one subtitling mode over the other in the spherical environment. For this end, a case study was designed to produce 120-degree subtitles and Follow Head Immediately subtitles, followed by the projection of the subtitled documentary through an eye tracking VR headset. The analysis of the eye tracking data is combined with post-viewing interviews in order to better understand the viewing experience of the Arab audience, their cognitive reception and the reasons leading to favour one type of subtitles over the other.

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Deng, Yilin, Sang-Yun Han, Jianyi Li, Jinjin Rong, Wenyu Fan, and Tiancong Sun. "The design of tourism product CAD three-dimensional modeling system using VR technology." PLOS ONE 15, no. 12 (December 28, 2020): e0244205. http://dx.doi.org/10.1371/journal.pone.0244205.

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In view of the high homogeneity of tourism products all over the country, an attempt is made to design virtual visit tourism products with cultural experience background, which can reflect the characteristics of culture + tourism in different scenic spots, so that tourists can deeply experience the local culture. Combined with computer aided design (CAD), the virtual three-dimensional (3D) modeling system of scenic spots is designed, and VR real scene visit interactive tourism products suitable for different scenic spots are designed. 360° VR panoramic display technology is used for 360° VR panoramic video shooting and visiting system display production of Elephant Trunk Hill park scenery. A total of 157 images are collected and 720 cloud panoramic interactive H5 tool is selected to produce a display system suitable for 360° VR panoramic display of scenic spots. Meanwhile, based on single view RGB-D image, the latest convolutional neural network (CNN) algorithm and point cloud processing algorithm are used to design the indoor 3D scene reconstruction algorithm based on semantic understanding. Experiments show that the pixel accuracy and mean intersection over union of the indoor scene layout segmentation network segmentation results are 89.5% and 60.9%, respectively, that is, it has high accuracy. The VR real scene visit interactive tourism product can make tourists have a more immersive sense of interaction and experience before, during and after the tour.

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Jeppsson, Mattis, Håvard N. Espeland, Tomas Kupka, Ragnar Langseth, Andreas Petlund, Qiaoqiao Peng, Chuansong Xue, et al. "Efficient Live and On-Demand Tiled HEVC 360 VR Video Streaming." International Journal of Semantic Computing 13, no. 03 (September 2019): 367–91. http://dx.doi.org/10.1142/s1793351x19400166.

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360∘ panorama video displayed through Virtual Reality (VR) glasses or large screens offers immersive user experiences, but as such technology becomes commonplace, the need for efficient streaming methods of such high-bitrate videos arises. In this respect, the attention that 360∘ panorama video has received lately is huge. Many methods have already been proposed, and in this paper, we shed more light on the different trade-offs in order to save bandwidth while preserving the video quality in the user’s field-of-view (FoV). Using 360∘ VR content delivered to a Gear VR head-mounted display with a Samsung Galaxy S7 and to a Huawei Q22 set-top-box, we have tested various tiling schemes analyzing the tile layout, the tiling and encoding overheads, mechanisms for faster quality switching beyond the DASH segment boundaries and quality selection configurations. In this paper, we present an efficient end-to-end design and real-world implementation of such a 360∘ streaming system. Furthermore, in addition to researching an on-demand system, we also go beyond the existing on-demand solutions and present a live streaming system which strikes a trade-off between bandwidth usage and the video quality in the user’s FoV. We have created an architecture that combines RTP and DASH, and our system multiplexes a single HEVC hardware decoder to provide faster quality switching than at the traditional GOP boundaries. We demonstrate the performance and illustrate the trade-offs through real-world experiments where we can report comparable bandwidth savings to existing on-demand approaches, but with faster quality switches when the FoV changes.

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Szita, Kata, Pierre Gander, and David Wallstén. "The Effects of Cinematic Virtual Reality on Viewing Experience and the Recollection of Narrative Elements." PRESENCE: Virtual and Augmented Reality 27, no. 4 (2018): 410–25. http://dx.doi.org/10.1162/pres_a_00338.

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Abstract Cinematic virtual reality offers 360-degree moving image experiences that engage a viewer's body as its position defines the momentary perspective over the surrounding simulated space. While a 360-degree narrative space has been demonstrated to provide highly immersive experiences, it may also affect information intake and the recollection of narrative events. The present study hypothesizes that the immersive quality of cinematic VR induces a viewer's first-person perspective in observing a narrative in contrast to a camera perspective. A first-person perspective is associated with increase in emotional engagement, sensation of presence, and a more vivid and accurate recollection of information. To determine these effects, we measured viewing experiences, memory characteristics, and recollection accuracy of participants watching an animated movie either using a VR headset or a stationary screen. The comparison revealed that VR viewers experience a higher level of presence in the displayed environment than screen viewers and that their memories of the movie are more vivid, evoke stronger emotions, and are more likely to be recalled from a first-person perspective. Yet, VR participants can recall fewer details than screen viewers. Overall, these results show that while cinematic virtual reality viewing involves more immersive and intense experiences, the 360-degree composition can negatively impact comprehension and recollection.

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Chao, Yi-Ping, Hai-Hua Chuang, Li-Jen Hsin, Chung-Jan Kang, Tuan-Jen Fang, Hsueh-Yu Li, Chung-Guei Huang, et al. "Using a 360° Virtual Reality or 2D Video to Learn History Taking and Physical Examination Skills for Undergraduate Medical Students: Pilot Randomized Controlled Trial." JMIR Serious Games 9, no. 4 (November 22, 2021): e13124. http://dx.doi.org/10.2196/13124.

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Background Learning through a 360° virtual reality (VR) or 2D video represents an alternative way to learn a complex medical education task. However, there is currently no consensus on how best to assess the effects of different learning materials on cognitive load estimates, heart rate variability (HRV), outcomes, and experience in learning history taking and physical examination (H&P) skills. Objective The aim of this study was to investigate how learning materials (ie, VR or 2D video) impact learning outcomes and experience through changes in cognitive load estimates and HRV for learning H&P skills. Methods This pilot system–design study included 32 undergraduate medical students at an academic teaching hospital. The students were randomly assigned, with a 1:1 allocation, to a 360° VR video group or a 2D video group, matched by age, sex, and cognitive style. The contents of both videos were different with regard to visual angle and self-determination. Learning outcomes were evaluated using the Milestone reporting form. Subjective and objective cognitive loads were estimated using the Paas Cognitive Load Scale, the National Aeronautics and Space Administration Task Load Index, and secondary-task reaction time. Cardiac autonomic function was assessed using HRV measurements. Learning experience was assessed using the AttrakDiff2 questionnaire and qualitative feedback. Statistical significance was accepted at a two-sided P value of <.01. Results All 32 participants received the intended intervention. The sample consisted of 20 (63%) males and 12 (38%) females, with a median age of 24 (IQR 23-25) years. The 360° VR video group seemed to have a higher Milestone level than the 2D video group (P=.04). The reaction time at the 10th minute in the 360° VR video group was significantly higher than that in the 2D video group (P<.001). Multiple logistic regression models of the overall cohort showed that the 360° VR video module was independently and positively associated with a reaction time at the 10th minute of ≥3.6 seconds (exp B=18.8, 95% CI 3.2-110.8; P=.001) and a Milestone level of ≥3 (exp B=15.0, 95% CI 2.3-99.6; P=.005). However, a reaction time at the 10th minute of ≥3.6 seconds was not related to a Milestone level of ≥3. A low-frequency to high-frequency ratio between the 5th and 10th minute of ≥1.43 seemed to be inversely associated with a hedonic stimulation score of ≥2.0 (exp B=0.14, 95% CI 0.03-0.68; P=.015) after adjusting for video module. The main qualitative feedback indicated that the 360° VR video module was fun but caused mild dizziness, whereas the 2D video module was easy to follow but tedious. Conclusions Our preliminary results showed that 360° VR video learning may be associated with a better Milestone level than 2D video learning, and that this did not seem to be related to cognitive load estimates or HRV indexes in the novice learners. Of note, an increase in sympathovagal balance may have been associated with a lower hedonic stimulation score, which may have met the learners’ needs and prompted learning through the different video modules. Trial Registration ClinicalTrials.gov NCT03501641; https://clinicaltrials.gov/ct2/show/NCT03501641

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Nisi, Valentina, Mara Sofia Dionisio, Paulo Bala, Tom Gross, Time's Up, and Nuno Jardim Nunes. "Lucid Peninsula, a Physical Narrative Art Installation Comprising Interactive 360° Virtual Reality Components." International Journal of Creative Interfaces and Computer Graphics 10, no. 1 (January 2019): 1–15. http://dx.doi.org/10.4018/ijcicg.2019010101.

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This article describes the design of the Lucid Peninsula, a Physical Narrative Art Installation, developed to engage a wide variety of audiences with a possible future, in which the practice of lucid dreaming plays an important role. In this article, the authors present and discuss the results from the in-the-wild evaluation of the audience reception of the artwork. Of particular concern is the assessment of the role of the virtual reality (VR) interfaces designed to deepen involvement and interaction with the art piece. This article reports on the conception and production of the installation as well as its evaluation and derived insights. The study provides evidence of the positive role of the 360° mobile VR assets in strengthening the narrative and the artist's intent in the Lucid Peninsula artistic installation. Results show how the VR interface supported engagement, positive affect, and reflections on the physical narrative scenario.

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